Exposing the Event. a Curatorial Investigation of the Aesthetics of Novelty in the Portuguese Revolution

Total Page:16

File Type:pdf, Size:1020Kb

Exposing the Event. a Curatorial Investigation of the Aesthetics of Novelty in the Portuguese Revolution Exposing the Event. A Curatorial Investigation of the Aesthetics of Novelty in the Portuguese Revolution by Carolina Rito A practice-based thesis submitted for the degree of Ph.D. in Curatorial/Knowlegde Department of Visual Cultures Goldsmiths College University of London Supervised by Irit Rogoff London, March, 2016 1 I hereby declare that the following work is my own. Carolina Rito London, March, 2016 2 ABSTRACT Exposing the Event dissertation sets up the curatorial as an aesthetic investigative practice able to read the representations and manifestations of the ‘new’—and what they efface—in the expanded field of cultural activity. Through a curatorial approach the ‘new’ is examined as a constellation of aesthetic manifestations and exposures, only able to signify under an apparatus that renders them visible, sayable and thinkable (Rancière, 2004). Considering a historical event as a cultural manifestation of the new, the Portuguese Revolution (1974-1976) serves as the framework of this investigation. The three chapters draw on visual and aural material—documentary, essay and militant cinema—of the Portuguese Revolution, made during the PREC (Ongoing Revolutionary Process) and in the present. Chapter One introduces the film Torre Bela (Harlan, 1977) set in Portugal during the Carnation Revolution, in order to problematise the mechanisms of ‘event’ production as an unexpected manifestation of a historical new. Chapter Two explores the notion of the ‘return of the secret gaze’ (Kuster, 2007) in order to disclose a multiplicity of layers of representation in the exhibitionary space of Torre Bela. Chapter Three addresses the ‘right to narrate’ unmoving histories through Grada Kilomba’s intervention in the film Conakry (César, 2013) and the haunted memories of Ventura in Horse Money (Costa, 2014). The proposed readings aim to address the ‘non-revolted’ affects of the post-revolutionary present. A series of transcriptions, images and performative texts are woven into the dissertation. These materials include an interview with Pedro Costa (2015), and an array of stills from Torre Bela (1977). Their insertion aims to animate the curatorial as an investigative practice capable of intersecting different registers of material and set them in dialogue. 3 TABLE OF CONTENTS INTRODUCTION 11 Overview 11 Theoretical Frames of Reference and Terminology 12 The Exhibition 13 Exposures 18 Revolution 19 The Curatorial 21 Aesthetics 29 Driving Questions 30 Methodology and Chapters Outline 32 Suspending the Event’s Disruption—the ‘Non-Event’ in Torre Bela 34 Wilson’s Dream of Becoming an Actor and the ‘Exhibitionary 35 Complex’ in Torre Bela Actualising Revolution—The Non-Revolted Affects and ‘Continuities’ 36 of The Portuguese Revolution I 40 CHAPTER ONE 41 Suspending the Event’s Disruption—the ‘Non-Event’ in Torre Bela 41 Introduction 41 Event: The Portuguese Carnation Revolution 47 ‘complexity and vibration of the ‘real’’ in Torre Bela 52 Staging the Occupation Scene and the Space Behind-the-Camera 57 On the Opening Up of the Evental Space—The Swarm of Events 62 The Cinematic Apparatus as Dispositif 64 ‘Representing Reality’ in the Documentary Film Genre 67 Prescribing the Event 74 The ‘Non-Event’ 79 4 Conclusion 83 VISUAL ESSAY ONE The Occupation Scene 86 II 107 CHAPTER TWO 109 Wilson’s Dream of Becoming an Actor and the ‘Exhibitionary 109 Complex’ in Torre Bela Introduction 109 I 112 The All-Encompassing View of Torre Bela 117 ‘The Return of the [Deployed] Real’ 121 II 125 III 130 Torre Bela and its ‘Exhibitionary Complex’ 131 Politics in the Space of Exhibition and Representation 136 Conclusion 150 VISUAL ESSAY TWO The Aerial View 155 III 163 CHAPTER THREE 165 Actualising Revolution—The Non-Revolting Affects And ‘Continuities’ 165 Of The Portuguese Revolution Introduction 165 Introduction [to my revolution] 166 Revolution: Freedom, Violence and Silence 173 The Absent-Presence at the Dinner Party with John Cage 181 ‘The Name Amílcar Cabral Was Never Revealed to Me in My History Books’ 186 5 Revolution and its ‘Continuities’ 194 The Suspension of the Grammar of Change in Ventura’s Phantasmatic 204 Memories Conclusion 214 VISUAL ESSAY THREE The Palm Trees 217 CONCLUSION 222 Overview 222 The Three ‘Modalities of Exposure’ for the Curatorial Practices 225 The ‘Non-Event’ 228 The ‘Sensing’ 230 The ‘Continuities’ 233 Contributions and Scope for Further Research and Development 234 APPENDICES 238 BES REVELEÇÃO, Marco Mendes, 2012 239 Interview with Pedro Costa Conducted by Laura Mulvey, September 2015 241 BIBLIOGRAPHY 257 6 LIST OF ILLUSTRATIONS Fig. 1—Booklet Cooperativa Agricola Popular da Torre Bela, ‘Portico’ poem, p. 1 Fig. 2, 3, 4 and 5 – The occupation scene of the palace in Torre Bela (Harlan, 1977). Video stills: 89’10’’, 85’56’’, 85’20’’, 84’20’’. Clockwise direction starting on the left hand corner. Fig. 6—Kids jumping to the water for money in Vampires of Poverty (Ospina and Mayolo, 1977) Fig. 7—Jason performing in front of the camera in Portrait of Jason (Clarke, 1967). Video still: 41’44’’ Fig. 8—Gathering in the public square in Torre Bela (Harlan, 1977). Video still: 26’20’’ Fig. 9—Aerial shot of Torre Bela’s main gate. Torre Bela (Harlan, 1977). Video still. Fig. 10—Aerial shot of Torre Bela estate. Torre Bela (Harlan, 1977). Video still. Fig. 11 and 12—Juxtaposition of the aerial view showing the main gate in Torre Bela (Harlan, 1977) (on the left), and my visit to Torre Bela in 2015 (on the right). Fig. 13—Squatters waving from the ground to Harlan on the helicopter in Torre Bela (Harlan, 1977). Video still. Fig. 14 and 15—The crowd in a public meeting (on the left) where Wilson gets emotional during his speech in Torre Bela (Harlan, 1977). Video Stills. Fig. 16 and 17—Fragments of a letter sent by my father to his parents on 24 February 1970. Fig. 18—French Fixed-Term Working Permission (‘Carte Ordinaire de Travail a Validité Limitée’) of my father (Luís Nuno e Sousa de Oliveira Rito) 7 Fig. 19, 20, 21 and 22—The military and the people in the streets of Lisbon on 25 April 1974. Documentation Centre 25th April (Centro de Documentação 25 de Abril). Fig. 23—Grada Kilomba reading her text in front of Amilcar Cabral’s reels in Conakry (César, 2013). Video still. Fig. 24 and 25—Grada Kilomba reading her text in front of Amilcar Cabral’s reels in Conakry (César, 2013). Video stills. Fig. 26, 27, and 28—Video clip ‘Conquistador’, DaVinci, 1989. The band plays in front of the Monument to the Discoveries in Lisbon, where the colonial exhibition of the Portuguese World was held (on the left), and in a Caravela (the Portuguese sailing ship developed in the fifteenth century) (centre and right). Video stills. Fig. 29—Monument to the Discoveries (Padrão dos Descobrimentos) on the bank of Tagus River in Lisbon (Telmo and Almeida, 1940)—the 25 April Bridge, previously called António Oliveira Salazar, can be seen in the backdrop. Fig. 30—Público’s newspaper cover, Brasil Descoberto (Discovered Brasil), 5 March 2014. Fig. 31—Ventura and Vitalina in Horse Money (Costa, 2014). Video Still. Fig. 32 and 33—Ventura (on the left) and Ventura and Tito Furtado (on the right) in Horse Money (Costa, 2014). Video Stills. Fig. 34 and 35—Ventura and Vitalina (left), and Vitalina (right) in Horse Money (Costa, 2014). Video Stills. Fig. 36 and 37—Ventura and the ‘freedom fighter’ in the elevator in Horse Money (Costa, 2014). Video Stills. Fig. 38—Ventura in Horse Money (Costa, 2014). Video Still. 8 Visual Essay The Occupation Scene in Torre Bela (Harlan, 1977). Video stills: 80'-89' The Aerial View in Torre Bela (Harlan, 1977). Video Stills: 8''-2'24'' The Palm Trees Scene in Torre Bela (Harlan, 1977).Video stills: 2'26''-2'50'' 9 10 INTRODUCTION Overview Exposing the Event. A Curatorial Investigation of the Aesthetics of Novelty in the Portuguese Revolution researches the representations and manifestations of the ‘new’—and what they efface—in the expanded field of cultural activity. Considering that the new needs to be recognised as novelty in order to signify, this thesis investigates the aesthetic manifestations of the ‘new’ as a historical and situated construct. As for a cultural manifestation of the new, the Portuguese Revolution (1974-1976) serves as the conceptual and material framework of this investigation. The Portuguese Revolution provides the aural and visual material to grasp the ‘visible, sayable and thinkable’ of the historical event; and, most importantly, the contained aesthetic tensions of what is left invisible, unsayable and inaudible in the post-revolutionary present. The three chapters draw on documentary, essay and militant cinema related to the Portuguese Revolution, and directed during the PREC (Ongoing Revolutionary Process)1 and in the present. This dissertation explores the epistemic potentialities of the curatorial in the field of visual cultures. In Exposing the Event the curatorial is able to propose new epistemic tools capable of sensing barely recognisable gestures, unaccountable discourses and invisible presences blurred by the hegemonic logics and narratives of the ‘new’. The research actualises the notion of ‘revolution’ in the present, as a scripted phenomenon, dependent on the repetition of aesthetic manifestations and of a grammar of novelty. This verification undermines the revolution as the disruption of the historical time able to install a new and fairer order. Rather, the revolution is devised as a fragile suspension of the old order, under which instituted power structures claim universal emancipation and transformation. The curatorial, as an inter-disciplinary and aesthetic investigative practice, examines revolution in its exhibitionary components, i.e., event, discourse, 1 After the Carnation Revolution the Ongoing Revolutionary Process ran for almost two years. 11 exposures, and juxtapositions. Revolution’s components are articulated as exposures at the site of tensions between material and affects that do not depend on an intentional exhibiting gesture.
Recommended publications
  • Maat Grada Kilomba X Ines Grosso 2017.Pdf
    SECRETS TO TELL GRADA KILOMBA ÍNDICE / CONTENTS TEXTOS / TEXTS Alfredo Jaar ( PT ) 9 ( EN ) 15 Inês Grosso Quiet as it’s kept (or not) ( PT ) 20 ( EN ) 33 Theresa Sigmund e / and Grada Kilomba Living in a space of timelessness ( PT ) 88 ( EN ) 94 OBRAS / WORKS The Desire Project 44 Plantation Memories 100 Table of Goods 108 Quiet as it’s kept (or not) INÊS GROSSO ( PT ) Receia-se que, se o sujeito colonial falar, o colonizador terá de ouvir. Ela/ele será forçado/a a um confronto desconfortável com «Outras» verdades. Verdades que foram negadas e mantidas no silêncio, como segredos. Gosto muito da frase inglesa «quiet as it’s kept». É uma expressão das comunidades da diáspora africana que anuncia que alguém está prestes a revelar algo que se presume ser segredo. Segredos como a escravatura. Segredos como o colonialismo. Segredos como o racismo.1 Grada Kilomba é uma escritora, uma teórica e uma artista interdisciplinar com um percurso ativo na cena artística berlinense, a cidade onde vive e trabalha. Nascida em Lisboa, as suas raízes estendem-se a São Tomé e Príncipe e a Angola. A sua obra aborda questões em torno dos temas da política de género e de raça e das ideias de trauma e memória, seja no âmbito das problemáticas atuais sobre o colonialismo e o pós-colonialismo no início do século XXI, seja para investigar as relações ambíguas entre memória e esquecimento, o imaginário coletivo e a identidade africana e das suas diásporas. Evocando as tradições orais africanas e o seu poder de perpetuação da palavra, a obra da artista 21 dá voz a narrativas silenciadas com o intuito de reescrever e recontar uma história que foi negada ou omitida.
    [Show full text]
  • William Kentridge 11:45-13:45 - Colonial Amnesia I
    BE.BOP 2012. BLACK EUROPE BODY POLITICS EDITED BY ALANNA LOCKWARD AND WALTER MIGNOLO .... BE.BOP 2012 BLACK EUROPE BODY POLITICS May 4-6, 2012 .... ROUNDTABLE SESSIONS Friday, May 4th 10:00-11:00 - SCREENING OF WORKS BY JEANNETE EHLERS, INGRIDMWANGIROBERTHUTTER, TERESA MARÍA DÍAZ NERIO, EMEKA UDEMBA AND TRACEY MOFFATT 11:30-13:30 - BLACK EUROPE AND DECOLONIAL (DIASPORIC) AESTHETICS Alanna Lockward, Humboldt Universität zu Berlin - Walter Mignolo, Duke University - IngridMwangiRobertHutter, Artist. Moderator: Rolando Vázquez, Roosevelt Academy 14:15-16:30 - BLACK EUROPE, CITIZENSHIP AND THE DECOLONIAL OPTION Manuela Boatca, Freie Universität Berlin - Gabriele Dietze, Humboldt Universität zu Berlin - Artwell Cain, Director Ninsee (National Institute for the Study of Dutch Slavery and its Legacy) - Rolando Vázquez, Roosevelt Academy. Moderator: Walter Mignolo 16:45-18:00 - OPEN MIC Moderator: Robbie Shilliam, Queen Mary University, London and Alanna Lockward, Humboldt Universität zu Berlin Saturday, May 5th 09:30-11:30 - SCREENINGS OF WORKS BY JEAN-MARIE TENO, SUMUGAN SIVANESAN AND WILLIAM KENTRIDGE 11:45-13:45 - COLONIAL AMNESIA I. CONNECTING ENSLAVEMENT LEGACIES BEFORE AND AFTER THE TRIANGULAR TRADE IN SCANDINAVIA Simmi Dullay, Independent scholar - Jeannette Ehlers, Artist - Ylva Habel, Södertörn University. Moderator: Alanna Lockward 14:30-16:30 - COLONIAL AMNESIA II. RES NULLIUS, THE BERLIN-CONGO CONFERENCE AND THE HERERO- NAMA GENOCIDE José Manuel Barreto, Goldsmiths College London - Ulrike Hamann, Goethe University Frankfurt. David Olusoga, Author. Moderator: Bonaventure Soh Bejeng Ndikung, Director of Savvy Contem- porary 16:30-18:00 - OPEN MIC Moderator: Michael Küppers-Adebisi, Director of AFROTAK TV cyberNomads and Teresa María Díaz Nerio, Artist Sunday, May 6th 10:30-11:00 - SCREENING OF WORK BY AFROTAKT TV CYBERNOMADS 11:00- 13:00 - BLACKNESS, SISTERHOOD AND CITIZENSHIP IN THE SOCIETY OF THE SPECTACLE Teresa María Díaz Nerio, Artist - Grada Kilomba, Author - Rozena Maart, University of Kwa-Zulu Natal - Minna Salami, Writer/Blogger.
    [Show full text]
  • Disruptive Film: Everyday Resistance to Power
    FILM AT REDCAT PRESENTS Mon Oct 3 |8:30 pm| Jack H. Skirball Series $11 [members $8] Disruptive Film: Everyday Resistance to Power Curated by Ernest Larsen and Sherry Millner http://www.redcat.org/event/sherry-millner-and-ernest-larsen- disruptive-film-everyday-resistance-power Starting with their first presentation at the 2008 Oberhausen Film Festival, Sherry Millner and Ernest Larsen—artists, filmmakers, writers, educators, troublemakers—have curated and exhibited multiple programs of short films that critically and/or actively represent resistance to power all over the world. Carried out over decades, the duo’s groundbreaking research demonstrates not only the variety of everyday resistance strategies, but also a surprising diversity of experimental approaches to short-form nonfiction media. Their selection for REDCAT draws from works by an array of filmmakers including Ariella Azoulay (Israel/USA), Zanny Begg & Oliver Ressler (Australia/Austria), Filipa Cesar (Portugal), Chen Chieh-Jen (Taiwan), Chiapas Media Project (Mexico), Sylvain George (France), John Greyson (Canada), Armand Guerra & Le Cinéma du Peuple (France), Birgit Hein (Germany), Mosireen Collective (Egypt), Olga Poliakoff & Yann Le Masson (France/Algeria), René Vautier (France/Rhodesia/Algeria), Želimir Žilnik (Serbia), and Millner herself. In person: Sherry Millner, Ernest Larsen “Demontrates the remarkable power of film to engage, move, provoke and contend.” —Bill Nichols “Disruptive Film creates a constellation where the past and present meet. Film becomes a perfect metaphor where the past is simultaneously both too far and too near. It’s always beyond one’s reach, nothing more than the flickers of light and shadow, yet it’s also so immediate as it unfolds before us like a fevered dream, tempting us into its movement and ephemeral images.” – Chris Robé, Pop Matters “A visual demonstration of the powers of film.
    [Show full text]
  • Intersectional Feminism and Anti-Racism in the Work of Black Women Artists
    Breaking Canons: Intersectional Feminism and Anti-Racism in the Work of Black Women Artists Ana Balona de Oliveira Abstract: In this essay, I will argue for the relevance of the visual production of several contemporary black women artists for the shattering of Eurocentric stereotypes and racist and patriarchal narratives, which, as legacies of the colonial and enslaving past, continue to wound the social and psychic lives of non-white people. While envisaging contemporary artistic practice as being in close dialogue with, or located within, other epistemic and cultural practices – such as the disciplinary fields of history and art history, and visual culture at large –, which have produced and reproduced racist discourses and racialized subjectivities for centuries, I will examine the ways in which black women artists break Eurocentric canons and counter racism, patriarchy, capitalism, homophobia, transphobia, and ableism from within the specific field of contemporary art, in between theory and practice, and drawing on the invaluable lessons of intersectional feminism. Relevant examples will be works by Grada Kilomba (Portugal, 1968), Eurídice Kala aka Zaituna Kala (Mozambique, 1987), and Keyezua (Angola, 1988). This essay will consider the ethico-political valences of such critiques through contemporary art, while not avoiding the problems that are inherent to the ways in which neo-liberal capitalism and white privilege remain structurally at the heart of numerous artistic institutions. Keywords: intersectional feminism and anti-racism; black women artists; Grada Kilomba; Eurídice Kala aka Zaituna Kala; Keyezua. Resumo: Neste ensaio, argumentarei a favor da relevância da produção visual de várias artistas contemporâneas negras para o quebrar de estereótipos eurocêntricos e de narrativas racistas e vista nº 6 2020 (In)Visibilidades: imagem e racismo pp.
    [Show full text]
  • Grada Kilomba
    Goodman Gallery Grada Kilomba Biography Grada Kilomba (b. 1968, Lisbon, Portugal) is an interdisciplinary artist, whose work draws on memory, trauma, gender and post-colonialism, interrogating concepts of knowledge, power and violence. “What stories are told? How are they told? And told by whom?” are constant questions in Kilomba’s body of work, to revise post-colonial narratives. Kilomba subversively translates text into image, movement and installation, by giving body, voice and form to her own critical writing. Performance, staged reading, video, photography, publications and installation are a platform for Kilomba’s unique practice of storytelling, which intentionally disrupts the proverbial ‘white cube’ through a new and urgent decolonial language and imagery. Her work has been presented in major international events such as: La Biennale de Lubumbashi VI; 10. Berlin Biennale; Documenta 14, Kassel; 32. Bienal de São Paulo. Selected solo and group exhibitions include the Pinacoteca de São Paulo; Bildmuseet, Umeå; Kadist Art Foundation, Paris; The Power Plant, Toronto; Maxim Gorki Theatre, Berlin; MAAT-Museum of Art, Architecture and Technology, Lisbon; Secession Museum, Vienna; Bozar Museum, Brussels; PAC-Pavillion Art Contemporanea, Milan, among others. Kilomba’s work features in public and private collections worldwide. Strongly influenced by the work of Frantz Fanon, Kilomba studied Freundian Psychoanalysis in Lisbon – at ISPA, and there she worked with war survivors from Angola and Mozambique. Early on she started writing and publishing stories, before extending her interests into staging, image, sound and movement. Kilomba holds a distinguished Doctorate in Philosophy from the Freie Universität Berlin. She has lectured at several international universities, such as the University of Ghana and the Vienna University of Arts, and was a Guest Professor at the Humboldt Universität Berlin, Department of Gender Studies.
    [Show full text]
  • Reading Room Grada Kilomba Malik Gaines Evan Ifekoya Tiona Nekkia
    JOURNEYS 12/2/2018– 1/13/2019 THE INITIATED WITH e-flux 311 E Broadway Tue–Sat 12–6 Malik Gaines Evan Ifekoya Grada Kilomba Reading Room pm Tiona Nekkia McClodden Nekkia Tiona pm Reading Room Reading Virginia de Medeiros de Virginia Tiona Nekkia McClodden Nekkia Tiona 12–7 Wed–Sun 253 E Houston St, #1 St, Houston E 253 PARTICIPANT INC PARTICIPANT INITIATED WITH THE 1/13/2019 12/2/2018– JOURNEYS INTRODUCTION Yesomi Umolu WORKS THE ARTIST BIOS THANKS Between 1978 and 1980, queer German novelist, poet, and self-taught ethnographer Hubert IN EXHIBITION Malik Gaines is an artist and writer based in New York. Since 2000 he has performed and exhib- For their support of Journeys with the initiated, we extend our sincere gratitude to the artistic direc- Fichte traveled to New York to engage with a city that he perceived to be a center of Afro-diasporic ited with the group My Barbarian, whose work has been included in the Whitney Biennial, two tors of the project Hubert Fichte: Love and Ethnology Anselm Franke and Diedrich Diederichsen. culture and tradition. From the early 1970s and into the following decade, alongside his partner PARTICIPANT INC Performa Biennials, the Montreal Biennial, and the Baltic Triennial, and who have received awards Thanks is also due to the staff of Haus der Kulturen der Welt (HKW): Dr. Kirsten Einfeldt, Managing Leonore Mau, Fichte made several journeys to research the daily lives and religious practices of and grants from United States Artists, Foundation for Contemporary Arts, Creative Capital, Art Editor projectfichte.org, Syelle Hase, Project Coordinator, and Agnes Wegner, Program Afro-diasporic communities in Benin, Senegal, Brazil, Chile, Portugal, and the US among other Tiona Nekkia McClodden, an offering | six years | a conjecture, 2018.
    [Show full text]
  • CONAKRY” E OS ECOS DA INSURGÊNCIA Bárbara Danielle Morais Vieira Resumo
    Cachoeira – Bahia – Brasil, 21, 22 e 23 nov/2018 www3.ufrb.edu.br/eventos/4congressocultura s IMAGENS INTEMPESTIVAS: “CONAKRY” E OS ECOS DA INSURGÊNCIA Bárbara Danielle Morais Vieira Resumo A partir da análise do curta-metragem “Conakry” 1 (2012), de Filipa Cesar, Grada Kilomba e Diana McCarty, o trabalho investiga as relações entre descolonização do conhecimento e deslocamento epistemológicos nas imagens de arquivo filmadas durante a luta pela independência e pós-independência de Guine-Bissau. Palavras-chave Descolonização do conhecimento. Epistemologias da margem. Narrativas contrahegemônicas. Grada Kilomba. Texto do trabalho Existe uma herança escravista, colonial e eugênica que transforma o tempo presente em sintoma contínuo de um trauma inicial latente. Colonizados desde o final do século XV, os territórios das Américas e África colhem constantemente os frutos que tornam a rebrotar de uma semente colonizatória silenciosa, atualizando os mecanismos culturais e políticos de subalternidade, genocídio e exploração. Em cada um destes territórios a colonização se deu e se perpetua de uma maneira específica e não queremos aqui equipará-las. Porém, paulatinamente, as assimetrias de poder ficam mais evidentes, passam a ser nomeáveis e sobretudo, podem ser narradas por aquelxs que historicamente não tiveram lugar de fala. Como recontar o passado a partir delas? Para descolonizar o conhecimento talvez seja necessário acessar saberes silenciosos e silenciados, dimensões de ancestralidade, estórias anônimas. Descolonizar poderia ser o exercício de escovar a história a contrapelo, como propôs Walter Benjamin, na tessitura contrária ao fio do presente. Ao realizar tal gesto muita poeira sobe, traços, rastros, 1 “Conakry”, de Filipa César, Grada Kilomba e Diana McCarty, disponível em https://www.youtube.com/watch?v=7YkldKs93jE - acessado em 03.08.2018 pequenos fragmentos e algumas rasuras ficam mais evidentes no tempo histórico ocidental.
    [Show full text]
  • Nnn Plantation Memories, Labor Identities, and the Celebration of Heritage the Case of Hawaii’S Plantation Village
    nnn Plantation Memories, Labor Identities, and the Celebration of Heritage The Case of Hawaii’s Plantation Village Cristiana Bastos n ABSTRACT: Plantation museums and memorials play different roles in coming to terms with a past of racialized violence. In this article, I briefly review the academic literature on plantations, refer to the plantation–race nexus, address the critical and acritical uses of plantation memories, discuss modes of musealizing plantations and memorializing labor, and present a community-based museum structure: Hawaii’s Plantation Village. This museum project is consistent with a multiethnic narrative of Hawai‘i, in that it provides both an overview of the plantation experience and a detailed account of the cultural heritage of each national group recruited for the sugar plantations. By providing a sense of historical belonging, a chronology of arrival, and a materialized represen- tation of a lived experience, this museum plays an active and interactive role in the shaping of a collective memory of the plantation era, selecting the more egalitarian aspects of a parallel coexistence rather than the hierarchies, violence, tensions and land appropriation upon which the plantations rested. n KEYWORDS: Hawai‘i, labor, memory, migration, plantations, race, Portuguese In this article, I discuss the role of plantation museums in confronting, legitimizing, and filtering the racialized violence on which the plantation economy stood. I start with a brief review of the literature on plantation societies, discuss the plantation–race nexus, and highlight the renewed interest in plantations raised by contemporary approaches to the environment, the Anthropo- cene, cropscapes, and nonhuman agencies. Next, I compare different modes of instrumentalizing and displaying the memory of the plantation, some of which are critical of its violence, and some of which are oblivious to it.
    [Show full text]
  • Meteorisations: Reading Amílcar Cabral's Agronomy Of
    Third Text, 2018 Vol. 32, Nos. 2–3, 254–272, https://doi.org/10.1080/09528822.2018.1492073 Meteorisations Reading Amílcar Cabral’s Agronomy of Liberation Filipa César Our people are our mountains.1 Amílcar Cabral ‘Mining’ historical strata to almost half a century ago, we find Amílcar Cabral at the University of London on 27 October 1971 describing the state of the armed struggle he had led since 1963 in the country that was then known as Portuguese Guinea. After eight years of anti-colonial war, two thirds of the small West African country had been freed from Portuguese occupation. 1 Amílcar Cabral, Our People Within these ‘Liberated Zones’ that spread across areas of tropical forest the Are Our Mountains: Amílcar Cabral on the Guinean PAIGC (African Party for the Independence of Guinea and Cape Verde) Revolution, Committee for established schools, hospitals, courts and people’s communal shops. Freedom in Mozambique, During these years, Cabral moved between the party headquarters in Angola and Guinea, London, 1971, p 11 Conakry in neighbouring Guinea, the jungle of the guerrilla within Guinea- – Bissau and the international geopolitical realm where he was advocating 2 Operating from Conakry 2 the capital of The Republic of for and attempting to develop a new society. At the lecture in London in Guinea, the allied southern 1971 he described the conditions of the armed struggle in Guinea-Bissau: neighbour, already liberated from French colonialism in – 1958 the PAIGC was laying We are in a flat part of Africa… The manuals of guerrilla warfare generally the ground for a unilateral Declaration of Independence state that a country has to be of a certain size to be able to create what is for Guinea Bissau.
    [Show full text]
  • Pretérito Perfecto. Ângela Ferreira, Grada Kilomba Y Rogelio López Cuenca. Curated by Bruno Leitão
    PRETÉRITO PERFECTO. ÂNGELA FERREIRA, GRADA KILOMBA Y ROGELIO LÓPEZ CUENCA. Y ROGELIO LÓPEZ ÂNGELA KILOMBA FERREIRA, GRADA PERFECTO. PRETÉRITO Blanca de Navarra, 12. 28010, Madrid Pretérito perfecto. Ângela Ferreira, Grada Kilomba y Rogelio López Cuenca. www.nfgaleria.com Curated by Bruno Leitão. Pretérito perfecto. Ângela Ferreira, Grada Kilomba and Rogelio López Cuenca. Curator: Bruno Leitão. The exhibition Pretérito Perfecto aims towards generating an encounter between the current moment and its preludes in the past. The artists that compose the exhibition share an understanding of art as a critical tool for research: Ângela Ferreira, Grada Kilomba and Rogelio López Cuenca, from different countries and alluding to different contexts, develop artistic practices that meet and resonate among themselves, and in which they explore and reflect on several moments of History. Throu- ghout their respective careers, these artists have worked on colonialism, states of exception, silencing and other issues structurally encrusted in our societies and, with their counter-hegemonic gaze, keep on pushing the boundaries of the established discourses. The work on memory they carry out on perceiving the past as a moment of time in constant re- vision, generates disruptive forms and opens to diverse formalizations that contribute to new possibilities of seeing and understanding the world today. Hence, in this exhibition, several time layers: the reference to Spain’s recent past through the non-fictional, the reinterpre- PRETÉRITO PERFECTO. ÂNGELA FERREIRA, GRADA KILOMBA Y ROGELIO LÓPEZ CUENCA. Y ROGELIO LÓPEZ ÂNGELA KILOMBA FERREIRA, GRADA PERFECTO. PRETÉRITO tation of fouding classics of European culture or the hommage to different figures or utopian episodes of the 20th Century History in Portugal, Mozambique, Democratic Republic of the Congo and other countries.
    [Show full text]
  • Mónica De Miranda
    Phone: +244 923 505 077 Email: [email protected] MÓNICA DE MIRANDA Born in 1976, Porto, Portugal. Lives and works between Lisbon and Luanda. EDUCATION Ver Versus Ver. Sabrina Amrani Gallery. Madrid, Spain. Bachelor in Visual Arts (Camberwell College of Arts, London, African Cosmologies: Photography, Time, and the Other. Fotofest UK); Master in Art and Education (Institute of Education, London, Biennial. Houston, USA. UK); PhD in Visual Art (University of Middlesex, London, UK) 2019 Taxidermy of the future. Museu de História Natural de Luanda (SIEXPO). Curated by Bruno Leitão and Paula Nascimento. SOLO SHOWS Largo do Kinaxixe, Luanda. Bienal Sur. Curated by Fernando Farina and Marina Aguerre. 2020 Guayaquil, Equador. Contos de Lisboa. Arquivo Municipal de Lisboa/Fotográfico. Biennale de Lubumbashi. Part of the exhibition Taxidermy of the Lisbon, Portugal. Curated by Bruno Leitao and Sofia Castro. future with Kiluanje Kia Henda and Grada Kilomba. Curated by Paula Nascimento and Bruno Leitão. Lubumbashi, Congo. 2019 South Circular. MAAT. EDP Foundation New Artist Award. Geografia Durmente. Galeria Municipal de Arte. Almada, Lisbon, Portugal. Portugal. Walk&Talk festival. Curated by Sérgio Fazenda Rodrigues. Circuito das Artes. Açores, Portugal. 2018 Bitting Nations. Cine-concerto Video Lucem. Algarve, Portugal. Tomorrow is another day. Curated by Cristina Tejo. Carlos Studiolo XXI. Deseho e afinidades. Curated by Fátima Lambert. Carvalho. Lisbon, Portugal. Eugénio de Almeida Foundation. Évora, Portugal. Panorama. Banco Economico. Luanda, Angola. Fiction and Fabrication. Photography of Architecture after the Transfer. Académie des beaux-arts de Kinshasa. Democratic Digital Turn. Curated by Pedro Gadanho and Sérgio Fazenda Republic of the Congo, Africa. Rodrigues. MAAT. Lisbon, Portugal.
    [Show full text]
  • A Critical Analysis of Masquerading Strategies in the Artworks of Contemporary South African Visual A
    POSTCOLONIAL MASQUERADING: A CRITICAL ANALYSIS OF MASQUERADING STRATEGIES IN THE ARTWORKS OF CONTEMPORARY SOUTH AFRICAN VISUAL ARTISTS ANTON KANNEMEYER, TRACEY ROSE, MARY SIBANDE, SENZENI MARASELA AND NANDIPHA MNTAMBO SHARLENE KHAN Goldsmiths, University of London PhD in Art 2014 DECLARATION I declare and undertake that all material presented for examination is my own work and has not been written for me, in whole or in part, by any other person(s). I also undertake that any quotation or paraphrase from the published or unpublished work of another person has been duly acknowledged in the work which I present for examination. Signed: …………………………… Date: ……………………………… 2 DEDICATION For Gule, Asfour and myself 3 ACKNOWLEDGEMENTS The Commonwealth Scholarship Commission and Canon Collins Trust for the Commonwealth scholarship that allowed me three years of uninterrupted study time. Sandy Balfour, you’re an amazing person and part of the wonderful memories we have of London. My sincere thanks for copy-editing this thesis. Thanks to the National Arts Council of South Africa for funding towards this PhD. Thank you to my supervisor, Andrea Phillips, for challenging my thoughts, for encouraging me, and efficiently dealing with all scholarship requirements. My partner Fouad Asfour – editor, uncredited camera-man, researcher, chef, counsellor, comedian. My sojourn to London was made all the better for having him share it with me. Thank you to artists Ayana Vellisia Jackson, Mary Sibande, Senzeni Marasela, Nandipha Mntambo and Tracey Rose for giving me time out of their hectic schedules in different parts of the world and answering my questions generously. I am grateful to the written contributors of my artist's catalogue: Fouad for layout of the catalogue as well, Peace Kiguwa (who directed me to articles on Critical Whiteness Studies), Nicola Lauré al-Samarai, Yvette Greslé and, especially Betty Govinden, the woman who introduced me to black feminism, and still engages and challenges my thoughts around it.
    [Show full text]